Uk number 27 singles on my birthday

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Since July it has also incorporated streaming data, and from 10 July has been based on a Friday to Thursday week. The chart was founded in by Percy Dickins of New Musical Express NME , who telephoned 20 record stores to ask what their top 10 highest-selling singles were. Dickins aggregated the results into a top 12 hit parade , which was topped by " Here in My Heart " by Al Martino.

NME ' s chart was published each week in its eponymous magazine. The calendar year that has featured the most UK number ones is , which featured 42 singles reaching the top spot; the year with the fewest number ones is with 10, followed by with 11, just ahead of , , and with The act that has achieved the most number ones is American entertainer Elvis Presley , who has topped the chart 21 times — Presley's second number one, " Jailhouse Rock " was the first single ever to debut at the top of the chart. In the s the required number of sales needed to top the chart was roughly , Eventually, streaming was incorporated into the sales chart.

From Wikipedia, the free encyclopedia. Wikipedia list article. Music Week. London : CMP Archived from the original on 1 February Retrieved 5 April Edge, Ruth ed. Since records began: EMI, the first years illustrated ed. London : Batsford. Archived from the original on 1 April It never gets less wrenching to think what else she might have done.

Ah, the song of the summer.

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On one hand, All the Things She Said is the ne plus ultra of queerbaiting: two straight Russian teenagers cajoled into lesbian cosplay by some dodgy-sounding svengalis. The boy band — well, Gary Barlow — had already shown they could do serious and affecting balladry with A Million Love Songs , and then they perfectly honed that skill for this classic breakup song.

Other early house hits had at least come with a song or a hook attached, but this had neither: it may be the most minimal No 1 of all time. A new high-water mark of commercial success for British rap was set by this incandescently brilliant wave of London MCs, each given 21 seconds of time on the mic. Everyone with even a glancing interest in pop knows Bohemian Rhapsody, which means its sheer audacity is easy to overlook.

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And, hey, if it was good enough for Larry Levan … LS. He was six months early, but Numan was always ahead of his time: oft-mocked, his alienated-suburbanite-in-a-world-of-technology schtick now seems remarkably prescient. One of the greatest Christmas No 1s of all time is a triumph of emotional candour. It resembles a breakup song with its talk of final kisses, but was written by Tony Mortimer after his brother killed himself.

It remains an astonishingly intense way to spend three minutes.

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There are plenty of arguments for Heart of Glass not really qualifying as the only UK No 1 punk single. It pissed off the punk purists back home — which is, incidentally, pretty much the most punk thing you could do by The production on Merry Xmas Everybody is fuzzy as tinsel the result of recording in an echoey corridor , potent as plum pudding doused in brandy and appropriately poignant, straddling that late-December divide between nostalgia and optimism.

On his breakthrough single, Tom Jones exhibits the kind of determined perkiness that can only accompany truly desperate heartbreak.

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It is a portal into a world of glamour — the litany of classic Hollywood in the middle eight, but also the world of peacocking ballroom culture it was borne from — where you find Madonna herself presiding over the decadence with her commands and observations. Get up on the dancefloor, indeed.

A masterpiece of synthetic production: the gorgeously wrong approximations of horns, bass guitar and piano have their own delirious beauty. The arrival of You Really Got Me amid the still relatively mild No 1s of the time must have been startling — it even makes the Beatles sound like squares. Satisfaction is pissed off, provocative, dirty, thrilling; everything great about the mids Rolling Stones condensed into 3 minutes and 45 seconds. Written by Motown brains trust Holland-Dozier-Holland, Band of Gold sees Payne sitting in a lonely bedroom, her wedding night gone disastrously unconsummated after some kind of freak-out by the groom.

As the KLF, they brought every one of their tricks to bear on this titanic piece of rave: hip-house rapping, gospel choirs, chants about an ancient race of people and a huge synthetic guitar riff. What on earth was it on about? The mystery was the final key to its success. On first listen, the song seemed deceptively featherweight.

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The strings sound like ringtones; the guitar parts as though they were lifted from a PlayStation 2 game. It is telling that Call Me Maybe was intended as a folk song; it would be catchy played on a kazoo, or underwater. Read our full review here. Elle Hunt. Old Town Road was unstoppable, with no apparent end to its appeal. Children rioted in their love for it. Its vast stable of remixes made it a genre-splicing Rosetta stone. Owen Myers. Dave Simpson. This was always a Kylie classic in the making. Is it about a crush?

A recent heartbreak? Does the person Minogue is singing about know about the obsession? What is the dark secret she is harbouring?

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Michael Cragg. Tell Me So , erred on regal fanfare, inspiring endless struts across makeshift dancefloors-turned-catwalks to this day. Yomi Adegoke. Jerry Lee still sounds more lascivious than almost anyone. The sensations simply spill out of him — not only his voice but also his piano playing, too, his right hand sliding down the keys in exhalations of delight. Michael Hann.

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The piano gently heralds the arrival of this haunted tale of lost love and longing, then that tight, high melody reels you in. Wuthering Heights turned Bush into a pop star, the rules of which she continues to bend to her own will: her individuality was set in stone from the very beginning.

Every Big Top 40 No.1 Single Of - BigTop40

Rebecca Nicholson. With not only its flagrant innuendo, but its wide-open synths, and swooning, psychedelic disco structure, the song was a complete wildcard — and the band performing it even more so. Aimee Cliff. Rachel Aroesti. Good Vibrations was at once the mumbled inarticulacy and heightened feelings of love, but also the sound of a culture changing — almost in real time. In this collision of sound and sentiment, Wilson and his bandmates succeeded in capturing the moment when everything we thought we knew about pop songs dissolved.

Laura Barton. Here, Gaye would establish himself as the bad boy of Motown, both a figurehead for rising anti-Vietnam sentiment and archetype of the socially conscious songwriter. With I Heard It Through the Grapevine, we find him stepping out into his independence, all potential buoyed on by the force of his first creation. Ammar Kalia. It takes 18 seconds for Dancing Queen to drop into one of the greatest moments in pop. It speaks volumes that the 18 seconds preceding it are pretty wonderful too: that song bursting into life on that impossibly joyous piano glissando, before eight bars of sparkling, effortless mid-tempo pop.

Jude Rogers. Chal Ravens. And after all, part of the charm of the Human League and the moment they encapsulated, the experimentalism of post-punk meeting the new possibilities of electronic music technology, is that it was so refreshingly carefree, the sound of synth-pop coming in from the cold.

Luke Turner. It is a hunted, haunted song about a paternity claim, which forsakes the lushness of his earlier work for stark, neurotic future-funk. Dorian Lynskey. You Spin Me Round Like a Record was secretly recorded while they were meant to be working on other songs. It took a hour cocaine-fuelled marathon to finish the song, and 17 weeks for it to journey from No 79 to No 1.